Architecture: Living in the pasttag:typepad.com,2003:post-6a00e5532538c4883301bb09e6a959970d2018-01-08T16:24:42+00:002018-01-21T21:03:54+00:00Dorset's grandest Waitrose in Poundbury, Dorset. I have been living in Dorset since the late 1980’s. Ten miles north of my home is the town of Dorchester, famed for the great novelist Thomas Hardy and also the birth of trade...Mike Dempsey

Dorset's grandest Waitrose in Poundbury, Dorset.

I have been living in Dorset since the late 1980’s. Ten miles north of my home is the town of Dorchester, famed for the great novelist Thomas Hardy and also the birth of trade unionism, with those six Tolpuddle Martyrs arrested on trumped-up charges and marched to the town to await trial in 1834 and their eventual deportation to Australia.

Another less significant event but with some impact started 24 years ago. Just a few miles west of Dorchester, the first houses of a new development appeared. It’s called Poundbury: the brainchild of future monarch Prince Charles and originally master-planned by the urban theorist and planner Léon Krier in the 1980s. With a cohort of ardent neoclassical architects (Quinlan and Francis Terry, James Gorst, John Simpson and Ben Pentreath) on board, the planned project is 50% completed. In the not-too-distant future, Poundbury will, I feel sure, dwarf the main town in size.

Variations of residences.

It is the realisation of Prince Charles’s particular take on architecture, and the resulting development is loved and loathed in equal measures. This model town consists of 35% social housing; is apparently designed as a sustainable development (including being carbon-neutral); and sits proudly facing Maiden Castle, a historic Iron Age hill fort.

Over the years, I have followed Poundbury’s progress with interest. Every six months or so, I drive around its ever-expanding streets to look at vistas new. The place is now filled with every conceivable variation on 17th-, 18th- and 19th-century faux architectural styles, from Scottish baronial villas to Palladian mansions and from flint-clad cottages to miniature icing pink Gothic castles. More recently, Victorian ‘Shad Thames’-style warehouses have appeared, along with white-rendered Rennie Mackintosh facsimiles. Think of Sir Clough Williams-Ellis’s creation Portmeirion in Wales, built between 1925 and 1975 in the style of an Italian village (made famous in the TV series ‘The Prisoner’), and you’ll get the picture.

The genesis of Poundbury, Sir Clough Williams-Ellis’s Portmeirion in Wales created in 1925.

Another inspiration, Seaside in Miami USA built in 1982 designed by Andres Duany and Elizabeth Plater-Zyberk.

Two images of Thamestown in Shanghai, China built in 2006.

It is the kind of model town replica that you find in gated communities in the US (Seaside in Miami was an early inspiration) or elsewhere, such as Thamestown in Shanghai, created in 2006 to give Chinese visitors a little piece of cobblestoned Tudor England, without having to leave their country.

Some variations in Poundbury's homes.

Dorset’s Poundbury has been described by the Ray-Ban-sunglasses-wearing architectural writer Jonathan Meades as a “cottagey slum” and a “Thomas Hardy theme park for slow learners”. He doesn’t mince words, that Mr Meades. But I feel sure that the young/old fogey Jacob Rees-Mogg would feel very much at home here amid the Hunter-wellies-wearing, Labrador-walking, Farrow & Ball inhabitants.

I was firmly against the notion of a pastiche town: Dorset’s own Disneyland. But while there are downsides (and I’ll come to those a little later), there are many things that I actually like. As I toured around last week, I was struck by the clever organic flow of the place and the juxtaposition of sizes and styles that rub together in a rather pleasing way. There are increasingly more focal points that help to lead you to central areas. The roads are wide and there are no yellow parking restriction lines to be found anywhere. Signage is kept to a minimum and the shops have discreet branding. The building materials used are a myriad of variations of real Portland and reconstituted stone, flint, and varieties of every conceivable brick colour and texture; some houses have blocked out windows to replicate the window tax era of the 17th–19th centuries. There is a great deal of painted fibreglass too, aping decorative cast iron. Standing in the middle of it all, you could be forgiven for imagining that you were on a Hollywood backlot. It is all clever movie-production-style fakery.

The first buildings that went up in Poundbury back in the ’90s lacked finesse, with details rather too chunky, like mean-sized windows with overly chunky glassing bars. Many of those early dwellings are now showing signs of wear and tear in this fairly high up and exposed part of Dorset. But as the development has evolved, newer architects have appeared on the scene with keener eyes for detail. One of these is Ben Pentreath: a neoclassicist but with a modern twist, rather like his hero, the late interior designer David Hicks. Pentreath trained at the Prince of Wales’s Institute of Architecture, going on to work a five-year stint in New York and then with the Prince’s Foundation. So, it’s no surprise that he is well immersed in helping to realise this later phase of development of Poundbury with many other like-minded practitioners.

One of Ben Pentreath's creations in Poundbury.

But if you look outside of this regal utopia at the many smaller developments dotted around Dorset, you will find either miserable little redbrick boxes akin to the old TV soap ‘Brookside’ slapped up by Wimpey or Barratt Homes for maximum profit for minimum effort or equally small local-stone-built affairs to approximate a regional feel.

This is the typical alternatively new builds to Poundbury. Grim little boxes.

Zero design aesthetic. Minimum effort for maximum profit. These are to be found from John O' Groats to Land's End.

But all are mean-spirited and soulless. What remains tugs on the coattails of Prince Charles’s ‘Little England’ view of the world. There is not one notable contemporary development of merit. So, I guess if I had to make a choice between the incredibly depressing Brookside boxes or the Poundbury film set, I’d choose the latter. No, I wouldn’t: I’d keep looking. But it sums up the depressing state of 21st-century British domestic architecture.

What saddens me is that had the Poundbury idea been put in the hands of a group of really exciting contemporary architects, with a real interest in developing new thinking in domestic architecture, it could have been fantastic. You’ll find an example of what I mean in Harlow, Essex, in a scheme designed by architect Alison Brooks.

Alison Brooks Architects new builds in Harlow in Essex.

She has taken her inspiration for the old black-tarred wooden Essex barns for her affordable housing scheme. Architects like her, Stanton Williams, Studio Partington and Hamson Barron Smith, along with a bunch of Scandinavian and Japanese architects, create modern, people-centred homes, rather than the egotistical ‘trophy building’ lot, who are screwing up London’s skyline at every turn.

Above a range of domestic home designs from the UK, Europe, US and Japan showing the alternative possibilities to living in the past.

While I’m at it, back in Dorchester, there is a so-called ‘contemporary’ development being built on the site of the old Eldridge Pope brewery. But cutting-edge modernism it ain’t: it is altogether mundane and extremely disappointing in appearance and is another lost architectural opportunity for the county.

Above part of Dorchester's very disappointing architectural design for Brewery Square development.

What amuses me most about Poundbury is that is at its heart and at the highest point of the centre of the town is a Waitrose – no way could it have been a Lidl. It started its life as a ‘little Waitrose’, but last year it expanded to three times its original size, packed to the hilt with Duchy produce in every aisle and with its own cafe, where customers clad in Barbour puffer jackets and cavalry twill or heavyweight Yorkshire corduroy trousers sit sipping their free coffees while reading The Telegraph. It is a microcosm and a seeming bastion of retired, well-heeled, white, middle-class middle Englanders, waiting patiently to get their country back in 2019 from those ghastly foreigners.

The Queen Mother looks down on her grandson's creation.

And as one looks through the Waitrose cafe windows, just beyond to Queen Mother Square, there stands a giant statue of the late queen mother looking down on passers-by to reinforce the feeling that all is well and that one is perfectly safe and secure in Dorset’s Poundbury.

No, it's not Jonathan Meads in the shades by Prince Charles on one of his regular visits to his model town.

Amazingly, after all of Prince Charles’s views about modernist architecture, made abundantly clear in his 1988 BBC documentary ‘A Vision of Britain’, he is now, along with Léon Krier, apparently planning a new project: a small modernist town. Krier added: “We will show them how to do it.”

Design and conscience.tag:typepad.com,2003:post-6a00e5532538c4883301b7c93e0200970b2017-12-19T08:56:12+00:002017-12-19T09:02:13+00:00Above a student sleep-in at Hornsey College of Art in 1968. Buckminster Fuller gives a lecture during a sit-in at Hornsey College of Art in 1968. Back in the 1960s, British student activism came to the fore. The Vietnam War,...Mike Dempsey

Above a student sleep-in at Hornsey College of Art in 1968.

Buckminster Fuller gives a lecture during a sit-in at Hornsey College of Art in 1968.

Back in the 1960s, British student activism came to the fore. The Vietnam War, racism and more-local frustrations (like student fees and representation) rose above the parapet. There were sit-ins, sleep-ins, lock-ins and all manner of demonstrations throughout the ’60s. One far quieter protest came in 1964 from a group of graphic designers, photographers and students, headed by Ken Garland. They put their names to a manifesto entitled ‘First Things First’. It rallied against the consumerist culture. They were frankly appalled by many of their industry colleagues chasing and pandering to the commercial pound. This group of manifesto-waving comrades were more about using their creative skills to better society, rather than damage it. Here is that original manifesto:

In 2000, 36 years on from ‘First Things First’, the cause was taken up again by the Canadian magazine Adbusters; after spotting an article in Eye magazine, they decided to reprint the ‘First Things First’ manifesto. This culminated in the manifesto being updated for the 21st century and another group, once again wanting the creative community to adhere to similar principles, got out their pens and signed it.

Now we are 17 years into the 21st century and it is clear that many of the concerns of that little 1964 band of brothers (and sisters) have been proved right in their fears of the state of Britain. We are an obese, hyperactive, commercially obsessed society. The digital age has disrupted virtually every area of our daily lives. The design community has mushroomed out of all proportion to the extent that for every designer with a moral compass in harmony with ‘First Things First’ and with the desire to benefit society, there are far more who are happy and hungry enough to use their skills to help to peddle useless crap by designing packaging to encourage children to eat and drink products overfilled with sugar, salt and fat, helping to make Britain and increasingly obese and unhealthy society. Ironically, many of the design presentations of this never-ending parade of products are featured on the Design Week website, often as exemplars of creativity, without one word of criticism.

More sinisterly, every Internet search we make is being tracked and the information sold to advertisers, which in turn will relentlessly target us to buy, buy, buy. This was far from the imaginings of Ken Garland and Co. back in 1964. It would have seemed like an unbelievable world of horrific science fiction.

I’ve often wondered how many of those original (sadly, some no longer with us) 1964 signatories, and the later 2000 group, have adhered to the promise they all signed up to, steering well clear of promoting commercial ‘striped toothpaste’, cat food, stomach powders, etc., along with all those other areas the manifesto so bitterly despised. It would seem that of all of them, Ken Garland clearly has.

Scarborough rock: Part 2: Where did all those years go?tag:typepad.com,2003:post-6a00e5532538c4883301bb09bfe1ed970d2017-09-04T12:45:10+01:002017-09-04T12:49:14+01:00Me on the right with Dr Rock (Charles White) Following on from last week here is the second part of my appearance on BBC York's Dr Rock here. For Part One click here.Mike Dempsey

Me on the right with Dr Rock (Charles White)

Following on from last week here is the second part of my appearance on BBC York's Dr Rockhere.

Michael Wolff's musical musings part 2.tag:typepad.com,2003:post-6a00e5532538c4883301b8d26ef2dd970c2017-03-26T20:13:54+01:002017-03-26T20:13:54+01:00Michael left with Dr Rock seated. Michael Wolff continues with his musical memories on part 2 of BBC Radio York's Dr Rock show hereMike Dempsey

Michael left with Dr Rock seated.

Michael Wolff continues with his musical memories on part 2 of BBC Radio York's Dr Rock showhere

Michael Wolff: Musical musingstag:typepad.com,2003:post-6a00e5532538c4883301bb09853b2f970d2017-03-20T09:00:00+00:002017-03-20T09:00:00+00:00Part one of Michael's appearance on BBC Radio York in conversation with the writer, broadcaster, environmentalist and DJ, Dr Rock. Michael discusses the music that has inspired different aspects of his eight decades on this little planet of ours. Listen...Mike Dempsey

Part one of Michael's appearance on BBC Radio York in conversation with the writer, broadcaster, environmentalist and DJ, Dr Rock. Michael discusses the music that has inspired different aspects of his eight decades on this little planet of ours. Listen HERE.

HAPPY ST PATRICK'S DAYtag:typepad.com,2003:post-6a00e5532538c4883301b7c8e1077f970b2017-03-17T08:30:00+00:002017-03-17T08:30:00+00:00To all my Irish readers, wherever you may be around the world. Have a joyful day!Mike Dempsey

To all my Irish readers, wherever you may be around the world. Have a joyful day!

Power to the sisterstag:typepad.com,2003:post-6a00e5532538c4883301bb0981482b970d2017-03-08T08:44:51+00:002017-03-08T08:44:51+00:00To all the great creative women I have collaborated with over the past half century. You are wonderful. Be joyful and celebratory on this very special day. Image with acknowledgement to the brilliant cover for 'The Female Eunice' with its...Mike Dempsey

To all the great creative women I have collaborated with over the past half century. You are wonderful. Be joyful and celebratory on this very special day.

Image with acknowledgement to the brilliant cover for 'The Female Eunice' with its painting by the late John Holmes in 1970.